#arabic music instrumental

[musicforyou]

Beautiful MIDDLE EASTERN MUSIC - Best collection.

[docileeffects]

[artsofarabia]

Oud is an ancient Arabian instrument, and is the most important and used instrument in local music.

For example, this is a South Arabian folkloric song/poem called Markeb al-Hind (The Ship from India) written in the early 1600s. Very famous and still covered by musicians today.

There’s a very long history of trade in the Indian Ocean between Arabia, India, and East Africa, and the lyrics of the poem reflects that.

(This is just the first part of the song)

[nimblermortal]

The ongoing rap discourse is really funny to me because like. Music is not a universal language. That's a stupid cliché. People like stuff that sounds kinda like stuff they've heard before because their brains already know how to process it. British people were super racist about it during the whole empire gambit. Now things spread more easily and people listen to a lot more variety of stuff than they used to, but there are still variables by language, region, platform, and, yes, class and race.

So you want to earn discourse points by listening to rap. Cool! Good, even! Expand your horizons! Start with some simple things. But also, you're making the assumption that all black or even non-white music is Black American music, maybe you'd like music from Saharan cell phones, or kalimba, or goto, or...

Maybe you want to earn discourse points by telling other people to listen to rap, and that they're bad people for not doing so. O-kay... but you're also losing discourse points by not considering neurodivergence, because the mental barrier to trying a new music can be significantly higher or even physically painful depending on your divergence.

You can't win the discourse war, guys. And you usually have more luck getting people to try things by being enthusiastic and providing links.

[gregor-samsung]

Limbo (Ben Sharrock - 2020)

[uburdn]

the nights that define our lives

are those in which we get to sing out our love freely wherein all passers by respect and accept it and we can be comfortable in our own skin and comfortable to hold who we love close and warm without fears or worries and we express the depths of our cognitive experiences and growths with reciprocation from those listening

need this exact scenario in a bath house hypothetically if the air is dry somehow or the instrument is weatherproof

also if you're thinking "wow i didn't know there was a middle eastern system of musical notation" i don't know of one either i just wrote random shit

fun fact dont read the lyrics i was not thinking when i wrote them

[irishbreakfst]

Watching a video on orientalism in music and a big ol oriental cockroach skitters on by my feet and ruins my morning... coincidence??? I think not

[uququq]

Schlagwerk RT "RIQ" Riqq Frame Drum レビュー

率直に言うと、これはレクというよりもレクと似たパーカッションという方が正確ではないかと思うのだけど、圧倒的に優れている点は、その軽さ。

通常のレクはジングルが２０枚あるのに対して、これは１１枚。

しかも、部分的には小さめのジングルも使用している（当然音は異なります）ので、驚きの４００グラム台。

しかも親指の部分に窪みがあるため持ちやすいです。

レクを始めてしばらくしてから、ThomannやAmazonなどで非常に評価が高いこのレクを手に入れ、その軽さや持ちやすさから、暫くこれをメインに使っていたのですが、そのうち本場エジプトやトルコで使われているレクの方がやはり音もいいし、流石に４００グラム台は無理でも８００グラム以下くらいの軽めのものを選べば演奏のしやすさの点でも特に問題はないと思うようになり、あまり使わなくなっていきました。

かと言ってもう売却したわけでもなく、本番では使わないものの、もっぱら家での練習用に使っています。

というのも、ジングルの数が少ないことなどから、特にジングルをテープで固定したり、皮の裏に紙を貼ったりなどすれば相当音量を小さく出来、夜でも家で練習できるからです。

音質　　　　　⭐️⭐️⭐️

演奏し易さ　　⭐️⭐️⭐️⭐️⭐️

総合評価　　　⭐️⭐️⭐️⭐️

[leiselaute]

Katia Krow - Dust Grazier from "Klaus Borealis". Released 2023 october 20th.

[mywifeleftme]

125: Omar Khorshid // Giant + Guitar

Giant + Guitar Omar Khorshid 1974, Voice of Lebanon

Released in 1974 in various markets as بص شوف ... عمر بيعمل إيه (Look, What is Omar Doing?) and Giant + Guitar, Omar Khorshid’s finest album was probably most widely heard under the title Rhythms from the Orient, a generic title attached to a generic sleeve featuring a pair of dancers dressed in a Harlequin paperback approximation of traditional Eastern finery. (And probably in brownface as well...) His previous recordings had been released in three volumes as Belly Dance with Omar Khorshid and His Magic Guitar, to capitalize on the Western appetite for the exotic. Without meaning to cast aspersions on belly dancing, a respected artform with a history that goes back centuries, marketing an album as groundbreaking as Giant + Guitar as Oriental mood music shows how little comprehension Western music buyers had of sounds outside their milieu. (And also why, even today, it never hurts to take a flier on a random foreign LP with a cheesy cover from the bargain bins: sometimes your finds will blow you away.)

Khorshid is credited with essentially introducing the electric guitar to Egyptian and Lebanese music through his work with major composers and bandleaders of the day, and his stated intention in forming his own instrumental band was to demonstrate that “the possibilities of the guitar go far beyond” what these more traditional musicians could comprehend. Consider “Takassim Sanatalfeyn.” If you’ve ever heard Dick Dale’s take on “Misirlou,” you have some sense of the primal rumble it’s possible to achieve using Eastern scales, but Khorshid’s playing is something else altogether. The composition flows from liquid contemplation through passages of extraordinary rigid intensity, his technique impeccable—like a well-provisioned merchant allowing the customer to sample all his wares, on “Takassim Sanatalfeyn” Khorshid gives you a little bit of everything he can do. In a sense, Khorshid was already a known commodity—to go further, he needed the guitar to be proven valid, and so he bent himself wholly to the task.

While Turkish guitarist Erkin Koray would kick off a revolution of his own with Elektronik Türküler, released in the same year, Koray’s acid rock was much more explicitly influenced by Western musicians like Hendrix than Khorshid’s music was. Khorshid knew of rock music (he covered a few standards like “Apache” and “Johnny Guitar” on his first album), but there is always the sense that his use of novel instruments like the electric guitar, electric keyboard, and synthesizer were intended to advance the development of new Eastern music, rather than to pull his country’s arts into the European sphere. It’s the difference between drawing from the vernacular of an oud player to introduce an Arabian scale on an electric guitar and playing an Arabian scale as a gimmick like Greg Lake would. Khorshid’s recordings of Arabic folk standards are some of the most exciting and fresh-sounding I’ve heard (“Ah Ya Zein” could go on thrice as long without diminishment), and to my mind Giant + Guitar stands among the best instrumental albums of all time.

125/365

[ranjith11]

Salima - Lamma Bada Yatantha @ LetzMusek Philharmonie Luxembourg 2023 | Arranged by David Laborier

"Salima - Lamma Bada Yatantha" is a musical performance that features the traditional Arabic song "Lamma Bada Yatathanna." The arrangement for this specific performance at LetzMusek Philharmonie Luxembourg in 2023 was created by David Laborier. Hi, thanks for watching our video.

[gregor-samsung]

Limbo (Ben Sharrock - 2020)

[bpark667]

Salima - Lamma Bada Yatantha @ LetzMusek Philharmonie Luxembourg 2023 | Arranged by David Laborier

"Salima - Lamma Bada Yatantha" is a musical performance that features the traditional Arabic song "Lamma Bada Yatathanna." The arrangement for this specific performance at LetzMusek Philharmonie Luxembourg in 2023 was created by David Laborier.

[monicascot]

Salima - Lamma Bada Yatantha @ LetzMusek Philharmonie Luxembourg 2023 | Arranged by David Laborier

"Salima - Lamma Bada Yatantha" is a musical performance that features the traditional Arabic song "Lamma Bada Yatathanna." The arrangement for this specific performance at LetzMusek Philharmonie Luxembourg in 2023 was created by David Laborier. Hi, thanks for watching our video. Lamma Bada Yatantha (trad.) | arr.:David Laborier Filmed and recorded live @ LetzMusek Philharmonie Luxembourg 20/01/2023

[canmom]

long but fascinating video. the basic criticism is p much spelled out in the thumbnail there: Western music that labels itself 'Persian', 'Arabic', 'Egyptian' etc or serves as soundtracks for Middle Eastern settings is always a mishmash of wildly geographically separated regional elements that almost exclusively refers back to other Western orientalist music, but passes itself off as the real thing enough that most people have no idea what, say, Iranian music actually sounds like. it's certainly true... but the really interesting part for me is the details: Faraji breaks down the stereotypical elements of that orientalist style (the Armenian duduk, melodies that walk up and down the double harmonic major scale, a certain very specific vocal style) and describes what's missing (e.g. the many more common modes of Iranian music which use microtonal quarter tone steps, the complex ornamented articulations, the specific 'accents' of different regions) and in a fascinating bit, makes a similar mishmash of regions applied to Europe to make a parody 'Scottish' song which honestly kinda slaps. he's also got a pretty good analysis of where this stuff comes from in the affordances of Western instruments and VSTs - it's nearly impossible to play microtonal music on a guitar or piano, and Western musicians don't really learn how to do it

I don't have much to add besides 'interesting video!' but I'll definitely be using this channel a bit in the next big music theory post I'm cooking up (which will mainly be about trying to understand the process of composition). he's got another long video on Iranian music theory too and I'm looking forward to checking it out...